A Short Account of King's College Chapel — Inside the Classic
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A SHORT ACCOUNT OF KING'S COLLEGE CHAPEL
SIMPKIN, MARSHALL, HAMILTON, KENT & CO. LTD.
KING'S COLLEGE CHAPEL
_SECOND EDITION_ _With Illustrations_
=CAMBRIDGE:= W. HEFFER & SONS LTD. 1921
Preface to Second Edition
THE success which has attended this little work from its first appearance, and the approval with which it has been received prompts me to issue a second and revised edition.
Regret has been expressed by some, that I omitted to give a description of all the windows, and that there were no illustrations in the first edition. This I have endeavoured to remedy by giving the subjects of all the windows (with here and there a special note) and inserting some pictures of the Chapel both inside and out, also the arms and supporters (a dragon and greyhound) of Henry VII, crowned rose and portcullis, from the walls of the ante-chapel and the initials H.A. from the screen.
I am indebted to Messrs. Sir Isaac Pitman and Sons Ltd., 1 Amen Corner, London, for the loan of the blocks of the former, which appeared in the late Sir William St. John Hope's book _Heraldry for Craftsmen and Designers_. The latter, together with three photographs of the Chapel, were specially taken for me by Mr. A. Broom. I wish also to thank the Provost of Eton, Dr. M. R. James, for permission to use some part of his description of the windows. I am also indebted to Mr. J. Palmer Clark for leave to reproduce the photograph of the ship in the window on the south side. I am also grateful to Mr. Benham and Dr. Mann for their assistance in compiling the lists of Provosts and Organists. I have again to thank Sir G. W. Prothero, Honorary Fellow of the College, for reading through the manuscript and proofs of both editions and for his valuable suggestions. In conclusion, I would ask for the kind indulgence of my readers for any errors that may be discovered in this little book, and shall be glad to have them pointed out to me.
CAMBRIDGE, ST. JAMES' DAY, _July 25, 1921._
OUTSIDE _Frontispiece_
LOOKING EAST FROM PROVOST STALL _face_ 4
THE SCREEN FROM WEST END 8
H.A. FROM THE SCREEN 27
ARMS OF HENRY VII. 35
ROSE AND PORTCULLIS 35 (Badges of Henry VII.)
IN the year 1441 Henry VI[1] founded King's College for a Rector and twelve scholars. He remodelled his plan in 1443, and styled his foundation the College of St. Mary and St. Nicholas.[2] It was to consist of a Provost, seventy Fellows, or Scholars, together with Chaplains, Lay Clerks, and Choristers. The court was originally on the north side of the present chapel opposite Clare College, and was the home of many generations of Kingsmen until about 1825. In 1829 this court was sold to the University, and the buildings thereon were demolished to make way for an extension of the University Library; but the old entrance gateway was happily spared and incorporated with the new Library building, and stands there, as a "venerable and beautiful specimen of architecture," at the present day.
On St. James' Day, July 25th, 1446, the King laid the foundation stone of the chapel, and so began a building which, as a distinguished member of the college (Lord Orford) said, would "alone be sufficient to ennoble any age." It has been classed with the chapel of Henry VII at Westminster and Saint George's collegiate church at Windsor, as one of "the three great royal chapels of the Tudor age"; but there is no edifice, except Eton College Chapel, which forms in any way a fair subject of comparison with that of King's College.
W. P. Littlechild, chapel clerk at King's College, Cambridge, wrote this guide from a vantage point rare among architectural historians: daily proximity to the building. His second edition (1921) expands the first by adding descriptions of all windows, new photographs, and heraldic details such as Henry VII's crowned rose and portcullis. Littlechild acknowledges debts to Sir William St. John Hope and Dr. M. R. James, yet his own voice emerges in the careful transcription of sepulchral brasses and the inclusion of donors' names. The book is less a detached survey than a custodian's record, shaped by the author's role and the chapel's living use.
Foundation and Royal Patronage
Littlechild opens with Henry VI's 1441 foundation of King's College for a rector and twelve scholars, later remodelled in 1443 as the College of St. Mary and St. Nicholas. The original court stood north of the present chapel, opposite Clare College, housing generations of Kingsmen until about 1825. The author traces the chapel's construction through reigns: begun under Henry VI, continued by Richard III, and largely completed by Henry VII, whose arms—a dragon and greyhound as supporters—appear on the ante-chapel walls. The building's slow progress is noted without dramatisation, anchored by documentary references to royal grants and building accounts.
Windows and Heraldic Detail
Littlechild devotes substantial space to the chapel's windows, listing subjects and donors. He reproduces a photograph of the ship window on the south side, credited to J. Palmer Clark. Heraldic motifs recur: the crowned rose and portcullis badges of Henry VII, the initials H.A. from the screen. The author's method is descriptive rather than interpretive; he records what is visible, such as the arms of Henry VII on the walls, without speculating on symbolism. This empirical approach extends to the brasses, where he transcribes epitaphs verbatim, noting where words have been partially effaced.
Sepulchral Brasses and Inscriptions
Four sepulchral brasses on the chantry floors receive detailed treatment. The earliest, of Dr. William Towne (d. 1494), shows him in academical costume with a scroll reading 'Farewell to glory... God is my only hope.' Littlechild notes that the words 'Pray for the soul' and 'Whose soul God pardon' have been partially effaced. Dr. Argentine's brass (d. 1507) includes a plea to Christ as 'crucified Lord, Redeemer of mankind,' while Robert Hacumblen's brass features the five wounds of Christ and an inscription begging 'O Lord, judge me not according to my actions.' The fourth brass, of Robert Brassie (d. 1558), lacks its original label. These transcriptions preserve texts vulnerable to wear.
Littlechild's guide is best read alongside the building itself, as a companion for slow looking. Its value lies in the specific: the exact wording of a brass, the name of a window donor, the position of a heraldic badge. Readers interested in the chapel's fabric will find a reliable inventory; those seeking interpretation must look elsewhere. The author's role as chapel clerk lends authority to his observations, and his second edition's improvements reflect a responsive, practical approach to his subject.
I have always felt that both A Short Account of King's College Chapel and Michael Angelo Buonarroti With Translations Of The Life Of The Master By His Scholar, Ascanio Condivi, And Three Dialogues From The Portugese By Francisco d'Ollanda — Background and Themes are about quiet reverence—hands that shaped stone and glass for something greater than themselves, recorded faithfully by patient observers. One describes a chapel’s heraldry; the other, a sculptor’s soul. Both whisper of devotion lasting centuries.
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